Charles-Augustin SAINTE-BEUVE. Handwritten letter addressed to Princess Carolyne of Sayn-Wittgenstein.
8th November [1859]
Signed autograph letter sent to Princess Carolyne de Sayn-Wittgenstein.
8 November [1859]
Bifolio in 8vo. 210x135 mm. Text on two pages, 2 blank. Quick cursive writing, brown ink. Good conservation.
Interesting source on the relationship between Liszt and the French cultural world. Sainte-Beuve turned with great concern to the Princess, Liszt's companion, who had asked him to intervene at the Academy of Fine Arts on behalf of the composer. He informed her that he had spoken to Fromental Halévy, secretary of the Academy, who had told him that there was “une place vacant […]”, not as an associate, but as a correspondent of the Institute. Halevy believed that there were good possibility “pour votre ami” if he had presented himself; he adds that Halevy would have supported Liszt's candidacy.
He then mentions Louise Colet's “ignoble book” and regrets her for having told her about it “de vous en avoir parlé”.
The final part of the letter is of great interest, in which she talks about literature, the fate of the 'genius' and alludes to Richard Wagner.
“Le livre de poesies de notre grand lirique” [Victor Hugo, Legende des Siècles] laisse dans l’esprit des impressions bien contraires, bien écrasantes parfois. On est froissé du génie comme d’une énormité. Est-ce là l’effet que le Génie, cette divine chose qui est faite pour relever et consoler l’humanité doit produire. Vous êtes à trop bonne source pour le croire.” [The book of poems of our great lyricist leaves very contrary impressions in the mind, sometimes truly overwhelming. We are offended by genius as well as enormity. This is the effect that the Genius must produce, this divine thing created to elevate and console humanity. You are too good a source to believe.]
Finally “Oh! Ces dieux de Weymar; je les honore, quoique barbares”,
In conclusion he greets the Princess very respectfully and offers Liszt her tenderness “mes tendresses”.
Liszt was elected a corresponding member of the Paris Academy of Fine Arts in 1881.